3.2. 鲍姆嘉滕

鲍姆嘉滕 Alexander Gottlieb Baumgarten  (July 17, 1714 – May 26, 1762)

文献来源 Guyer, Paul, "18th Century German Aesthetics", The Stanford Encyclopedia of Philosophy (Fall 2008 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/fall2008/entries/aesthetics-18th-german/>.

3.2.1. 鲍姆嘉滕的生平 Baumgarten was the son of a Pietist minister from Berlin, but was orphaned by the time he was eight. He followed his older brother Jacob Sigismund (who would become a prominent theologian and historian of religion) to Halle when he was thirteen years old. 鲍姆嘉滕是柏林一个虔诚派牧师的儿子，8岁失怙成为孤儿。13岁时，跟着他的哥哥雅各布来到霍尔。

21岁的鲍姆嘉滕干成了什么事情？ The younger Baumgarten started at the university at sixteen (in 1730), and studied theology, philology, poetry, rhetoric, and philosophy, especially Leibniz, whose philosophy was not banned. He began teaching there himself in 1735, upon the acceptance of his thesis on poetry, and published his Metaphysics in 1739. 年轻的鲍姆嘉滕16岁时（1730年）上大学，学校神学、语文学、诗学、修辞学和哲学，特别是莱布尼茨的哲学（他的哲学当时没有被禁止）。他自己在1735年开始在那里任教，获得教职资格的是他研究诗学的毕业论文；1739年出版了他的《形而上学》。

1740年《伦理学》出版， 1746年（32岁）成为教授 In 1740, the same year as he published his Ethics, he was called to a professorship — or more precisely, ordered to accept it — at another Prussian university, in Frankfurt an der Oder. Georg Friedrich Meier (1718-1777), who had been studying with Baumgarten, took over his classes and was himself appointed professor at Halle in 1746.

从形而上学、伦理学返回美学 Having published the textbooks for his metaphysics and ethics classes (which Kant would still use decades later), Baumgarten then returned to aesthetics, and began working on a major treatise in 1742. 在出版了他自己的形而上学与伦理学教材之后（几十年后康德依然采用），鲍姆嘉滕又返回到美学，1742年开始了一遍主要著作的撰写。

1750年（36岁）《美学》第一卷出版 The first volume of his Aesthetica appeared in 1750. It was written in Latin, like Baumgarten's other works, and was the first work ever to use the name of the new discipline as a title. 1750年，他的《美学》第一卷出版。像鲍姆嘉滕的其他著作一样，这本书也是用拉丁语写成的。本书是有史以来第一部用这个新学科作为书名的著作。

《美学》第二卷1758年出版 The next year, however, Baumgarten's health began to decline, and a second volume of the Aesthetica came out only in 1758, under pressure from the publisher. The two volumes cover just under a third of Baumgarten's original plan, although they may have included the most original part of the plan. 然而，鲍姆嘉滕的健康状况于次年开始衰退，《美学》的第二卷直到1758年才在出版社的催促下出版。这部两卷本的著作涵盖了鲍姆嘉滕原计划的三分之一，尽管它们或许已经包括了这个计划最原创的部分。

3.2.2 美学的诞生：1735年 Baumgarten's Meditations on Poetry conclude with his famous introduction of the term “aesthetics”: “The Greek philosophers and the Church fathers have always carefully distinguished between the aistheta and the noeta,” that is, between objects of sense and objects of thought, and while the latter, that is, “what can be cognized through the higher faculty” of mind, are “the object of logic, the aistheta are the subject of the episteme aisthetike or AESTHETICS,” the science of perception (Meditationes, §CXVI, p. 86).

《诗的感想——关于诗的哲学默想录》 理性事物应该凭高级认识能力作为逻辑学对象去认识，而感性事物[应该凭低级认识能力去认识]则属于知觉的科学，或感性学（Aesthetic）。 章安祺编订：《缪灵珠美学译文集》（第二卷），北京：中国人民大学出版社，1987年版，第130页。

鲍姆嘉滕的思想脉络 高级认识能力——理性事物——逻辑学 低级认识能力——感性事物——感性学 如何准确地理解“低级认识能力”成为我们正确理解鲍姆嘉滕美学的关键。

But this work says nothing about in what way the new discipline might be a general science of perception, and analyzes only the nature of poetry and our experience of it. We will first see what is novel in Baumgarten's theory of poetry, and then turn to his larger work to see what it suggests about the general character of the new discipline. 但是，这本著作丝毫没有讨论，这个新学科如何成为普遍的知觉科学，它仅仅分析了诗歌的性质以及我们对它的体验。我们将首先考察鲍姆嘉滕诗歌理论的创新之处，然后转向他的那部更大部头的著作，考察它所讨论的这个新学科的一般特征。

鲍姆嘉滕的诗歌理论 Baumgarten begins the work with a series of definitions, defining “discourse” as a “series of words that bring to mind [intelligimus] connected representations,” “sensible representations” as ones “received through the lower part of the cognitive faculty,” “sensible discourse” as a “discourse of sensible representations,” and finally a “poem” as a “perfect sensible discourse.” 鲍姆嘉滕在这部著作的开头提出了一系列定义，“话语”是“将相关表象带到心灵的系列词语”，“感性表象”是“通过认知能力的低级部分所接受到”的表象，“感性话语”是“感性表象的话语”，最后，“诗”是“完美的感性话语”。

感性话语的各部分 The parts of sensible discourse are “(1) sensible representations, (2) their interconnections, and (3) the words, or the articulate sounds which are represented by the letters and which symbolize the words,” and sensible discourse is “directed toward the apprehension of sensible discourse”(Meditationes, §§I-IX, pp. 6-10). 感性话语的各部分是“（1）各种感性的表象；（2）它们的互相联系；（3）词语，或由字母所代表的音节分明的声音，以及象征词语的音节分明的声音”；感性话语“指向对于感性话语的领悟”。

诗歌：表达真理的感性方式 The key thoughts in this series of definitions is that poetry is aimed not just at conveying truth, but at conveying it by means of “sensible representations,” or imagery drawn from the senses, and that the “perfection” of a poem may lie in both its medium, that is, the words its uses, and the imagery it arouses, and indeed in the relationship between these two dimensions. 这一系列定义的关键思想是，诗歌的目标不是一般地传达真理，而是通过“感性表象”的方式、或来自各种感官的意象来传达它；而且，诗歌的“完美”可以既存在于它的媒介（也就是它所使用的词语），也可以存在于它所激发的意象，而事实上存在于这两个维度的关系上。

艺术品所激发的感性意象自身就是完美的所在 Thus Baumgarten introduces the idea that the sensible imagery a work of art arouses is not just a medium, more or less perfect, for conveying truth, but a locus of perfection in its own right. This is a view that was barely hinted at by Wolff, and not at all in his discussion of imitation as the perfection of mimetic arts, but only in his discussion of mixed arts like architecture, where he took into account the appearance as well as the function of structural elements. 这样，鲍姆嘉滕就引进了这样一种观念：艺术品所激发的感性意象不只是一种传达真理的媒介（无论其完美程度怎样），它自身就是完美的所在。这种观点最初由沃尔夫隐约暗示，他讨论模仿时尚未触及（模仿被他理解为模仿艺术的完美），而在讨论建筑这样的混合艺术时才论述到——在那里，他考察了建筑的外表及其结构要素的功能。

As he continues Baumgarten remains within the Wolffian framework by defining sensible representations as clear rather than obscure — thus he rejects poetry that aims at obscurity for its own sake (Meditationes, §XIII, p. 14) — but confused rather than distinct, and thus as conveying more representations packed together rather than fewer that are neatly separated.

Or as he puts it, poems aim for extensive rather than intensive clarity, conveying more rather than less information but without separating the images from each other, as would be aimed for in scientific or “logical” discourse (Meditationes, §§XVI-XVII, p. 16).

诗歌通过刻画特殊环境中的个体来激发形象 And since individuals are more fully determined, or more fully characterized, than any abstraction, “particular representations are in the highest degree poetic” (Meditationes, §XIX, p. 18): poetry achieves its goal of arousing a density of images by portraying individuals in particular circumstances rather than by trafficking in generalities and abstractions. 诗歌的目标是激发密集的形象，其方式是刻画特殊环境中的个体，而不是用概括性和抽象性来做交换。

诗歌的典范优点 Thus Baumgarten turns what is a vice in scientific knowledge — connoting too many ideas without clearly distinguishing among them — into the paradigm virtue of poetry. 这样，鲍姆嘉滕将科学知识的缺陷——包含太多的观念而不清晰地区别它们——变成了诗歌的典范优点。 程相占：科学与诗歌的根本不同，西方诗学与中国诗学的差异。

3.2.3 美学之核： 鲍姆嘉滕的“低级的认识能力”论 Before we can turn to the Aesthetica, however, we must look at some of the key definitions Baumgarten lays down in the chapter on “Empirical Psychology” in his Metaphysics. Baumgarten begins by defining the “inferior” or “lower faculty of cognition” as that which works with sensible representations, which are in turn “indistinct, that is, obscure or confused” (Metaphysik, §§382-3, pp. 115-16). 鲍姆嘉滕将“低级的认识能力”界定为：与感性表象一起工作、反过来又是“不清楚亦即模糊不清或混杂的”。

发展感性表象的两种途径 Sensible representations can be developed in either of two ways, however: either with increasing clarity of their component “marks,” in which case they acquire “greater clarity (claritas intensive maior),” or with increasing “multitude of marks,” in which case they acquire ”liveliness (vividitas, claritas extensive maior, cogitationum nitor)” (Nitor means brightness or splendor).” 然而，我们可以通过两种方式来发展感性表象：一种是它们的成分“特征”越来越清晰，在这种情况下，它们获得了“更多的清晰性”；或者，“特征的数量”越来越多，在这种情况下，它们获得了“生动性”。

意象的丰富性-分析的清晰性 The former development of cognition leads to proofs, while what makes a perception lively is a “painterly” form of clarity (eine malende), thus one that consists in richness of imagery rather than analytical clarity (Metaphysik, §393, p. 119). It is this liveliness rather than probative clarity which is the basis of aesthetic experience. 认识的前一种发展通向论证。然而，使得知觉栩栩如生的东西，却是一种“如画的”清晰形式——它重在意象的丰富性，而不是分析的清晰性。

判断：“实践的”判断与“理论的”判断 Baumgarten then defines judgment as the representation of the perfection or imperfection of things. Judgment is initially divided into “practical” judgment, the object of which is “things foreseen,” and “theoretical judgment,” which concerns everything else (Metaphysik, §451, p. 139). 鲍姆嘉滕将判断界定为对于事物完美或不完美的表象。判断最初分为“实践的”判断与“理论的”判断，前者的对象是“预知的事物”，而后者则关注其他的任何事物。

“理论的”判断之一：审美识别力 Theoretical judgment is in turn divided into that which is distinct and that which is rather sensible, and the “ability to judge sensibly is taste in the broad,” that is, aesthetic sense. So taste is the ability to judge perfections and imperfections sensibly rather than intellectually. 理论判断又被分为两种：清晰的，相对感性的。“感性地判断的能力就是宽泛的鉴赏力（趣味）”，那就是审美识别力。因此，鉴赏力就是感性地而不是理智地判断完美与不完美的能力。

完美与不完美的定义 Perfections and imperfections, it should be noted, are defined entirely formally as the “agreement or disagreement” of the “manifold of a thing” (Metaphysik, §452, p. 139). 我们应该注意，完美与不完美被完全正式地界定为对于“某物的多样性”的“一致或不一致”。

对于完美的感性认识是愉悦的 Next, Baumgarten divides the sensible representation or judgment of perfections and imperfections into the “intuitive” and the “symbolic,” that is, those which consist in sensible properties directly and those which consist in sensible properties taken as symbols of something else, and then adds that the sensible cognition of a perfection is pleasing and that of its imperfection displeasing. 接下来，鲍姆嘉滕将感性表象（或对于完美与不完美的判断）划分为为“直觉的”与“象征的”，前者直接存在于感性属性中，后者存在于被认为是其他事物的象征的感性属性中。然后，他进一步提出，对于完美的感性认识是愉悦的，而对于不完美的感性认识则是不悦的。

美=感官知觉到的完美 If I have sensible cognition neither of an object's perfection nor its imperfection, then it is indifferent to me (Metaphysik, §478, p. 150). Finally, Baumgarten states that beauty is perfection perceived by means of the senses rather than by the pure intellect (Metaphysik, §488, pp. 154-5). 如果我对于某对象的完美或不完美都没有感性认识，那么，它对于我而言就是无所谓的。最后，鲍姆嘉滕断言，美就是通过各种感官而不是纯粹理智所知觉到（感知到）的完美。

理性的类似物 Thus far, then, Baumgarten has remained within the conceptual framework of Wolff. One key addition to Wolff that he makes in the Metaphysics, however, is the concept of the analogon rationis, the “analogue of reason.” He writes: 到目前为止，鲍姆嘉滕一直停留在沃尔夫的概念框架之中。然而，他在其《形而上学》中对沃尔夫的一个关键突破是“理性的类似物”这个概念。他这样写道：

两种能力：（明确的）理性与（不明确的）感性 I cognize the interconnection of some things distinctly, and of others indistinctly, consequently I have the faculty for both. Consequently I have an understanding, for insight into the connections of things, that is, reason (ratio); and a faculty for indistinct insight into the connections of things, which consists of the following: 我能够明确地认识某些事物的互相联系，同时不明确地认识其他事物。因此，我对于这两类事物都有能力。因此，对于洞察事物的联系我有着理解力，那就是理性；同时，我还有另外一种能力，能够不明确地洞察事物的联系，它包括如下七种：

1) the sensible faculty for insight into the concordances among things, thus sensible wit; 2) the sensible faculty for cognizing the differences among things, thus sensible acumen; 3) sensible memory; 4) the faculty of invention; （1）洞察事物和谐 的感性能力，因此是一种感性才智；（2）认识事物差异的感性能力，因此是感性的敏锐；（3）感性记忆；（4）创造的能力；

5) the faculty of sensible judgment and taste together with the judgment of the senses; 6) the expectation of similar cases; and 7) the faculty of sensible designation. （5）感性判断的能力和鉴赏力，以及各种感官的判断力；（6）对于类似情形的期待；（7）感性指定的能力。

低级的认识能力：理性的类似物 All of these lower faculties of cognition, in so far as they represent the connections among things, and in this respect are similar to reason, comprise that which is similar to reason (analogon rationis), or the sum of all the cognitive faculties that represent the connections among things indistinctly. (Metaphysik, §468, p. 146) 所有这些低级的认识能力都能够认识事物之间的联系。就此而言，它们与理性相似，所以可以称为理性的类似物，或所有这些不明确地呈现事物之间联系的认识能力的总和。

鲍姆嘉滕超越沃尔夫的独特贡献 Baumgarten's departure from Wolff here may be subtle, but his idea is that the use of a broad range of our mental capacities for dealing with sensory representations and imagery is not an inferior and provisional substitute for reason and its logical and scientific analysis, but something parallel to reason. 鲍姆嘉滕对于沃尔夫美学的摆脱或许是细微的，但是，他认为，运用我们宽广的精神能力去处理感性表象与意象，并非理性及其逻辑与科学分析的低劣而暂时的替代，而是与理性类似的某种东西。

感性能力的功能及其独特性 Moreover, this complex of human mental powers is productive of pleasure, through the sensible representation of perfection, in its own right. 而且，通过对于完美的感性表象，人类精神能力的这种综合体能够靠自身的力量独立地产生愉悦。

3.2.4 鲍姆嘉滕最著名的美学定义 The potential of this idea finally begins to emerge in the Aesthetica. Taking up where the Meditations had left off, Baumgarten begins the “Prolegomena” of this work with his famous definition of aesthetics: 这种观点的潜力最终开始在《美学》中显现。鲍姆嘉滕承续了《形而上学》中的美学定义，以如下一个著名的美学定义来开始这本著作的“绪论”：

程相占的译文 “Aesthetics (the theory of the liberal arts, the logic of the lower capacities of cognition [gnoseologia inferior], the art of thinking beautifully, the art of the analogon rationis) is the science of sensible cognition” (Aesthetica, §1, p. 107). 美学（自由的艺术的理论，低级认识能力的逻辑，用审美的方式去思维的艺术，理性类似物的艺术）是感性认识的科学。

朱光潜的译文 美学（美的艺术的理论，低级知识的理论，用美的方式去思维的艺术，类比推理的艺术）是研究感性知识的科学。 北京大学哲学系美学教研室编：《西方美学家论美和美感》，北京：商务印书馆，1980年版，第142页。 关键失误在于，将“低级认识能力”误解为“低级知识”

简明的译文 美学作为自由艺术的理论、低级认识论、美的思维的艺术和与理性类似的思维的艺术是感性认识的科学。 [德]鲍姆嘉滕：《美学》，简明 王旭晓 译，北京：文化艺术出版社，1987年版，第13页。 失误：低级认识论

李醒尘的译文 美学（作为自由艺术的理论、低级认识论、美的思维的艺术和与理性类似的思维艺术）是感性认识的科学。 李醒尘：《西方美学史教程》，北京：北京大学出版社，2005年版，第183页。 失误：低级认识论 学术界的普遍失误：没有把握鲍姆嘉滕美学之核心——低级认识能力，也就是不同于理性、但又类似于理性的那种认识能力，其认识方式不是逻辑推理分析，而是通过感性表象。

Baumgarten's list of synonyms may be confusing, for it includes both traditional and novel designations of his subject matter. He explains in the preface to the second edition of the Metaphysics that he “adds synonymous designations from other authors in parentheses alongside [his own] defining expressions so that the latter might more easily be understood” (Vorreden zur Metaphysik, p. 43).

Yet it is clear that he means his own new science to be broader in scope than some of the more traditional definitions he brackets: he intends to provide a general science of sensible cognition rather than just a theory of the fine arts or our taste for them.

Although Baumgarten makes some broad claims for the new science, this is not where the novelty of the Aesthetica lies, for at least in the extant part of the work Baumgarten never actually develops this theme. Instead, the innovation comes at the beginning of the first chapter of the work, when Baumgarten writes that “The aim of aesthetics is the perfection of sensible cognition as such, that is, beauty, while its imperfection as such, that is, ugliness, is to be avoided” (Aesthetica, §14; Schweizer, p. 115).

朱光潜的误解 美学的对象就是感性认识的完善（单就它本身来看），这就是美；与此相反的就是感性认识的不完善，这就是丑。 朱光潜没有直接介绍鲍姆嘉滕《美学》开宗明义的美学定义，而是引用了包括这句话在内的一段较长的文字。 这句话是鲍姆嘉滕《美学》的第14节。

朱光潜的失误：转引二手文献、误译 紧接着这段转引的文字，朱光潜得出了一个结论：“从此可见，美学虽说作为一种认识论提出的，同时也就是研究艺术和美的科学。” 朱光潜：《西方美学史》（上卷），北京：人民文学出版社，1963年版，第280页。 结论太匆忙

朱光潜不当论断的负面影响： 李泽厚的美学理论框架 李泽厚采纳了这个观点并做了一点修改，提出了一个影响深远的说法：“美学——是以美感经验为中心，研究美和艺术的学科。”[1]他出版于1989年的《美学四讲》集中体现了这种美学观：四讲其实就是四章，依次分别是“美学”、“美”、“美感”和“艺术”；除了第一章是对于美学观的讨论之外，二、三、四章清楚地显示了一种美学模式，即“美-美感-艺术”。[2] [1]李泽厚：《美学三书》，合肥：安徽教育出版社，1999年版，第447页。 [2]参见李泽厚：《美学三书》，合肥：安徽教育出版社，1999年版，第469-596页。

程相占的译文 为了谨慎起见，笔者依据德国学者出版于2007年版的拉丁语-德语对照版鲍姆嘉滕《美学》，将这句话试译如下： 美学的目标和目的是感性认识的完善，这就是美；而缺少它，就是不完善，这就是丑。 Baumgarten, Alexander Gottlieb. Ästhetik [Lat. – Germ.], translated, with an introduction, notes and indexes ed. by Dagmar Mirbach, vol. 1. Hamburg, 2007, p.20. 对于此处拉丁语的理解，笔者得到了拉丁语专家、中国人民大学文学院雷立柏（Leo Leeb）教授的帮助，特此说明并致谢。

思考题 《朱光潜的鲍姆嘉滕美学观研究之批判反思》 中国当代美学的走向与未来 生态美学的美学观与核心问题

论生态美学的美学观与研究对象 摘要：构建生态美学的前提是确立恰当的美学观，然后从美学观的角度提炼出生态美学的研究对象。中国当代占据主导地位的美学观是以李泽厚为代表的“美-美感-艺术”三元模式，它最严重的缺陷在于背离了鲍姆嘉滕美学的“审美”思想而退回到柏拉图意义上的“美”，中国生态美学依据这种美学模式所创造出的“生态美”概念，根本无法解释当代生态审美活动，因而是一个误导性概念。青年鲍姆嘉滕美学的核心问题是对于作诗能力的哲学思考，其“感性学”实质上是一种“审美能力学”，近似于其后学康德的审美判断力学说。以“审美”为核心的美学模式即“审美能力-审美可供性-审美体验”三元模式，以之为框架而构建的生态美学可以更加有力地解释客观存在的生态审美活动，可以有效地避免“生态美”概念的偏颇而走向“生态审美”。生态审美才是生态美学的研究对象。